Current Shows

Ivy Cooper encapsulates the St. Louis art scene

Abstract Painting: Six Points of ViewGuest curator Belinda Lee has assembled a modest but rich collection of works by some of St. Louis' best artists, some emerging and some well-established. Gary Passanise's Structure of War (2004) is an indescribably dark, moving work, which seems locked in sorrowful engagement with a series of four untitled Barry Leibman pieces that comprise layers of charred wood, paper, fabric and floor tile. The mournful chord these works strike is delicately counterbalanced by colorful, recent pieces by Christopher Kahler, Ron Laboray and Laura Beard Aeling. Two of Michael Byron's "Generic Dada Abstractions" (from 2000 and 2001) round out a very strong showcase. Through November 24 at the Gallery at the Regional Arts Commission, 6128 Delmar Boulevard; 314-863-5811. Gallery hours 10 a.m.-5 p.m. Mon.-Fri., noon-5 p.m. Sat. and Sun.

Art St. Louis XX: The ExhibitionArt St. Louis shows tend to be mixed bags and this is no exception, save for the fact that it was juried by New York-based Chakaia Booker, one of the finest artists working today in mixed-media sculpture. Booker's criteria appear to have been diffuse, as the exhibition includes just about everything but the kitchen sink. Nevertheless, it's all quite strong and there's always something to be said for variety. Jesse Thomas' large oil painting The Studio (2003) makes a scathing, humorous comment on art and popular culture, and painter Chris Kahler (Colony 69, 2004) just can't go wrong these days. Several very strong ceramic artists are represented, among them Ron Johnson, Tim Eberhardt, Jimmy Liu and Brock Rumohr. Among the five Awards of Excellence winners are the polymer photogravure by Khanh H. Le and the mixed-media piece by Sharon Davie-Barrett. Through January 7, 2005, at Art St. Louis, 917 Locust Street, Suite 300; 314-241-4810. Gallery hours 10 a.m.-5 p.m. Mon.-Fri., 10 a.m.-4 p.m. Sat.

Jenna Bauer: As Everything Becomes One...These new paintings by St. Louis artist Bauer represent both a change in artistic gears and a coming together of forms and ideas that have long inhabited her work. Bauer is well known for her softly translucent, minimalist prints, which she relates to landscape features -- light, horizon lines and color. These bold oils foreground muscular gesture and earthy, rich tones in swirls of tumbling energy. Work: Light pitches the eye through a riotous tunnel of energetic brushstrokes and into a calm, distant patch of land. Morning Lea presents a thicket of icy blue and pink rooted in steely gray and black. These works connect earth and sky, energy and color, movement and stasis, and combine them all into a joyous multitonal statement. Through November 27 at Gallery Urbis Orbis, 419 North 10th Street; 314-406-5778. Gallery hours 11:30 a.m.-1:30 p.m. Tue.-Thu., noon-7 p.m. Fri., 11 a.m.-5 p.m. Sat.

Currents 92: Anna KuperbergAfter earning her BFA at Washington University, Anna Kuperberg spent much of her time in south St. Louis, snapping images of neighborhood kids. These astonishing photos show the kids playing, crying or lost in their thoughts; they reveal moments of sheer joy, straight-faced seriousness and -- quite often -- disquieting ambiguity. Like street photographers of the 1950s and '60s, Kuperberg works the old-fashioned way, with a 35mm camera and without cropping the negative, which means it's all in her eye. And but for the stray contemporary logo, these photographs could have been made 50 years ago. Through November 28 at the Saint Louis Art Museum, 1 Fine Arts Drive; 314-721-0072. Gallery hours 10 a.m.-5 p.m. Tue.-Sun., 10 a.m.-9 p.m. Fri.

Teo González: Recent ExplorationsThe sixteen paintings by this Spanish-born, Brooklyn, New York-based artist vary in dimension, but each features a similar format: a square grid of cell-like structures with dots of paint in each. What sounds so simple in description, however, is astonishingly complex in reality. Untitled #290 is a large, dazzling arrangement, with dots of gold paint in white cells, while the much smaller Untitled #336 features more densely arranged black dots against a stunning red grid pattern. Beyond color, there is the random accident in each piece that catches the eye -- each cell in each grid, and each dot in each cell, is handpainted, so what appears to be a general uniformity is actually, on closer inspection, complete irregularity. González's work is far from mere op art redux; it's intimate, gently insistent and not at all interested in visual game playing. Through December 4 at William Shearburn Gallery, 4735 McPherson Avenue; 314-367-8020. Gallery hours 10 a.m.-5:30 p.m. Tue.-Sat.

Hubblevision: New Sculptures New York-based Jill Viney has produced some startling hybrid forms that seem to morph undersea creatures with structures for exploring outer space. Drifter 2 (1999), Vigil 3 and Vigil 4 (both 2004) appear to float in the gallery like manned satellites, but their fiberglass skins look fleshy and organic. Out on the gallery’s lawn, a multicolored fiberglass Dwelling (2004) invites you to enter its uncanny, bejeweled interior. Whether these things belong to this world or another is not altogether clear, but it is a world of wonder -- dreamlike, a little creepy and totally enchanting. Through January 15, 2005, at Gallery 210, TeleCommunity Center, UM-St. Louis, 1 University Boulevard (at Natural Bridge Road), Normandy; 314-516-5976. Gallery hours 11 a.m.-5 p.m. Tue.-Sat.

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